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Simon Hantaï’s personal archives

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This article deals with the results of a preliminary catalogue of Simon Hantaï’s wonderfully rich collection of personal archives, left untouched in his studio at the time of his death. From 1984, as he voluntarily withdrew from the artistic scene and the public arena, Hantaï never actually ceased working. In the last fifteen years of his life, when he was particularly active, a large part of the work archived was created or else collected, manipulated and reused. These archives are part and parcel of Hantaï’s original creative process at the time, as he reassessed and continued his work.
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Keywords: Simon Hantaï; archives inventory; artist’s archives; artist’s studio; creative process; painting

Document Type: Research Article

Publication date: 01 October 2015

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  • Journal of Contemporary Painting responds to the territory and practice of contemporary painting in its broadest sense, viewing painting as a context for discussion, exploring its sphere of history and influence, rather than as a medium specific debate. The JCP combines a thematic approach with an open call, each issue opening up and problematising pressing concerns in contemporary painting.

    As well as contributions to current debates on contemporary art, a particular feature of the Journal of Contemporary Painting is the publication of archival or newly translated texts alongside current responsive articles, based on the premise that contemporary painting cannot be understood without reflecting on its history. Dedication to understanding the nature and forms of painting research has also led to the inclusions of an original visual essay for every edition. Additionally we respond to current exhibitions, books and symposia, nationally and internationally, in our reviews section.

    Our aim is to be responsive to current debates in painting and related art practices, drawing from a wide geographical field and across discipline boundaries to provide a discursive space in which a range of subject specialisms can be brought to bear on the culture of painting. We are particularly interested in writing emerging from practice-based research as well as from academics working in different disciplines.

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